Miles of Gloucester, earl of Hereford (1141–43), and his son, Roger, earl of Hereford (1143–55), were two of the main participants in the civil war between King Stephen (1135–54) and his cousin, the empress Matilda. Previous assessments of the earls have focused on their political and military careers, and particularly their transgressions against the Church. A lesser known fact is that both men were significant patrons of ecclesiastical architecture and sculpture, and were responsible for founding or rebuilding a number of parish churches and chapels. Analysis of the extant twelfth-century architectural sculpture at these sites suggests that the earls sought to develop and propagate a certain repertoire of church decoration, while also looking to prestigious cathedral and abbey churches for inspiration. The earls commanded a sizable following of lesser magnates and secular lords, some of whom were responsible for founding or rebuilding their own parish churches and seigneurial chapels. Judging from the sculptural evidence, these retinue members emulated one another and their lords, the earls of Hereford. Altogether, these findings present an alternative cultural perspective on secular lordship in twelfth-century England.
{"title":"The Earls of Hereford and Their Retinue: A Network of Architectural and Sculptural Patronage in Twelfth-Century England, ca. 1130–55","authors":"JonathanAndrew Turnock","doi":"10.1086/710025","DOIUrl":"https://doi.org/10.1086/710025","url":null,"abstract":"Miles of Gloucester, earl of Hereford (1141–43), and his son, Roger, earl of Hereford (1143–55), were two of the main participants in the civil war between King Stephen (1135–54) and his cousin, the empress Matilda. Previous assessments of the earls have focused on their political and military careers, and particularly their transgressions against the Church. A lesser known fact is that both men were significant patrons of ecclesiastical architecture and sculpture, and were responsible for founding or rebuilding a number of parish churches and chapels. Analysis of the extant twelfth-century architectural sculpture at these sites suggests that the earls sought to develop and propagate a certain repertoire of church decoration, while also looking to prestigious cathedral and abbey churches for inspiration. The earls commanded a sizable following of lesser magnates and secular lords, some of whom were responsible for founding or rebuilding their own parish churches and seigneurial chapels. Judging from the sculptural evidence, these retinue members emulated one another and their lords, the earls of Hereford. Altogether, these findings present an alternative cultural perspective on secular lordship in twelfth-century England.","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/710025","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49348542","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Dating from approximately 1210 in the Champagne region of northern France, the emergence of bar tracery could be considered one of the most significant stylistic developments in the history of Western architecture. Over the subsequent decades, this innovation in window design provided the catalyst for a radical shift in design principles among medieval masons, its geometrical conception, forms, and technical composition having far-reaching consequences for the appearance of the architecture we call Gothic. Spread rapidly across France and beyond to England, Castile-Léon, and modern Germany by medieval masons, tracery quickly became the leitmotif of Gothic design, and was gradually transformed into a new mode of decoration which came to encompass the entire surface of the architectural edifice. Yet despite the widespread acknowledgment of bar tracery’s critical role within the stylistic narratives of early thirteenth-century European art, comparatively little attention has been focused on how its constitutive forms and ideas were transmitted over these long distances. Using a contemporary graphic and verbal response to bar tracery, the Villard de Honnecourt manuscript of ca. 1210–40, this article conducts a comparative analysis of three potential modes of stylistic transmission during this period: drawing, language, and personal communication via the memory. Through evaluating the relative limitations and potential of these communication media, it provides a starting point for reassessing the processes behind the dissemination of architectural ideas in northwestern Europe during the thirteenth century.
{"title":"Villard de Honnecourt and Bar Tracery: Reims Cathedral and Processes of Stylistic Transmission, ca. 1210–40","authors":"J. Hillson","doi":"10.1086/709992","DOIUrl":"https://doi.org/10.1086/709992","url":null,"abstract":"Dating from approximately 1210 in the Champagne region of northern France, the emergence of bar tracery could be considered one of the most significant stylistic developments in the history of Western architecture. Over the subsequent decades, this innovation in window design provided the catalyst for a radical shift in design principles among medieval masons, its geometrical conception, forms, and technical composition having far-reaching consequences for the appearance of the architecture we call Gothic. Spread rapidly across France and beyond to England, Castile-Léon, and modern Germany by medieval masons, tracery quickly became the leitmotif of Gothic design, and was gradually transformed into a new mode of decoration which came to encompass the entire surface of the architectural edifice. Yet despite the widespread acknowledgment of bar tracery’s critical role within the stylistic narratives of early thirteenth-century European art, comparatively little attention has been focused on how its constitutive forms and ideas were transmitted over these long distances. Using a contemporary graphic and verbal response to bar tracery, the Villard de Honnecourt manuscript of ca. 1210–40, this article conducts a comparative analysis of three potential modes of stylistic transmission during this period: drawing, language, and personal communication via the memory. Through evaluating the relative limitations and potential of these communication media, it provides a starting point for reassessing the processes behind the dissemination of architectural ideas in northwestern Europe during the thirteenth century.","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/709992","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47715465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the nature and implications of the extensive Marian texts and imagery in the mid-fifteenth-century Parisian Coëtivy Hours (Dublin, Chester Beatty Library, MS W082), and reports the findings from scientific investigation of the inks and pigments that were used in the book.
{"title":"The Admiral, the Virgin, and the Spectrometer: Observations on the Coëtivy Hours (Dublin, Chester Beatty Library, MS W082)","authors":"R. Gameson, C. Nicholson, A. Beeby","doi":"10.1086/710024","DOIUrl":"https://doi.org/10.1086/710024","url":null,"abstract":"This article examines the nature and implications of the extensive Marian texts and imagery in the mid-fifteenth-century Parisian Coëtivy Hours (Dublin, Chester Beatty Library, MS W082), and reports the findings from scientific investigation of the inks and pigments that were used in the book.","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/710024","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45659067","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay introduces to a wider audience the manuscript that I call the Welles-Ros Bible (Paris, Bibliothèque nationale de France, MS fr. 1), the most complete surviving witness and sole extant illuminated copy of the Anglo-Norman Bible, the earliest full prose vernacular Bible produced in England. I argue that this grand, multilingual manuscript and the vernacular translation preserved in its pages were commissioned in the 1360s by the widowed baroness Maud de Ros to serve as a primer, mirror, guide, family archive, and source of consolation for her son, John, fifth Baron Welles of Welle, Lincolnshire, and other estates. Working under the direction of a Carmelite chaplain, who I believe composed the translation, the two secular artists who illuminated the manuscript strove to visualize scripture in a manner that was at once faithful to the vernacular biblical text in all its concrete detail, evocative of its most elevated themes, and relevant to the values and lived experience of its intended reader-viewer. I show how the Bible’s pictorial and heraldic program reframes Christian salvation history as Welles family history. In addition, using as case studies a selection of illustrations for the Old Testament books, I endeavor to reconstruct the main artist’s creative process, and to identify some of the possible contours of the collaboration that produced the Bible’s visual program. This essay contributes to our picture of lay literate and religious aspiration; the history of Bible translation and reception; women’s cultural patronage; artists’ literacy and working methods; and medieval ideas about gender, sexuality, memory, and the emotions in post-Black Death England.
这篇文章向更广泛的读者介绍了我称之为《威尔斯-罗斯圣经》的手稿（巴黎，法国国家图书馆，MS fr.1），这是现存最完整的见证人，也是现存唯一的盎格鲁-诺曼圣经的照明副本，这是英国产生的最早的散文白话圣经。我认为，这份宏大的多语言手稿和保存在其页面中的白话翻译是由寡居的Maud de Ros男爵夫人在1360年代委托编写的，目的是为她的儿子John、林肯郡威尔的第五代威尔斯男爵和其他庄园提供入门、镜像、指南、家庭档案和安慰。在一位卡梅尔派牧师的指导下，我相信他撰写了这本译本，这两位照亮手稿的世俗艺术家努力以一种既忠实于白话圣经文本所有具体细节，又能唤起其最崇高主题的方式，将圣经形象化，并与读者的价值观和生活体验相关联。我展示了《圣经》的图像和纹章程序如何将基督教救赎史重新定义为威尔斯家族史。此外，作为案例研究，我选择了一些旧约全书的插图，试图重建主要艺术家的创作过程，并确定产生《圣经》视觉程序的合作的一些可能轮廓。这篇文章有助于我们了解外行的文化和宗教愿望；圣经翻译和接受的历史；妇女的文化庇护；艺术家的素养和工作方法；以及中世纪关于性别、性、记忆和黑死病后英格兰的情感的观念。
{"title":"Found in Translation: Images Visionary and Visceral in the Welles-Ros Bible","authors":"Kathryn A. Smith","doi":"10.1086/710571","DOIUrl":"https://doi.org/10.1086/710571","url":null,"abstract":"This essay introduces to a wider audience the manuscript that I call the Welles-Ros Bible (Paris, Bibliothèque nationale de France, MS fr. 1), the most complete surviving witness and sole extant illuminated copy of the Anglo-Norman Bible, the earliest full prose vernacular Bible produced in England. I argue that this grand, multilingual manuscript and the vernacular translation preserved in its pages were commissioned in the 1360s by the widowed baroness Maud de Ros to serve as a primer, mirror, guide, family archive, and source of consolation for her son, John, fifth Baron Welles of Welle, Lincolnshire, and other estates. Working under the direction of a Carmelite chaplain, who I believe composed the translation, the two secular artists who illuminated the manuscript strove to visualize scripture in a manner that was at once faithful to the vernacular biblical text in all its concrete detail, evocative of its most elevated themes, and relevant to the values and lived experience of its intended reader-viewer. I show how the Bible’s pictorial and heraldic program reframes Christian salvation history as Welles family history. In addition, using as case studies a selection of illustrations for the Old Testament books, I endeavor to reconstruct the main artist’s creative process, and to identify some of the possible contours of the collaboration that produced the Bible’s visual program. This essay contributes to our picture of lay literate and religious aspiration; the history of Bible translation and reception; women’s cultural patronage; artists’ literacy and working methods; and medieval ideas about gender, sexuality, memory, and the emotions in post-Black Death England.","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/710571","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49320552","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Front Cover","authors":"","doi":"10.1086/712109","DOIUrl":"https://doi.org/10.1086/712109","url":null,"abstract":"","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/712109","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42254742","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Back Matter","authors":"","doi":"10.1086/712111","DOIUrl":"https://doi.org/10.1086/712111","url":null,"abstract":"","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/712111","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49601944","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Six basilicas constructed by Christians in fourth-century Rome relate purposefully to ancient athletic structures, namely the circus and the stadium. This relationship grew out of the shared cultural traditions of Classical athleticism and the cult of Christian martyrs materialized in the built environment and serving mixed religious audiences. These six “circus basilicas” mimicked the most iconic features of Roman racetracks, whether designed for sturdy horses or swift humans. The similarities in design between circus and basilica were not mere accidents of history bearing only “pseudo-resemblances” to pagan monuments. Rather, the architectural features of circus basilicas bear witness to an ancient Christianity practiced outside the city walls in the fourth century only to be eclipsed by newer styles of worship in subsequent epochs. Here, the martyr keeps company with the charioteer; the pagan dissolves seamlessly into the Christian; the godhead metamorphoses into the ultimate spectator at the games; and the athletic spaces of the later Roman Empire transmute into a racetrack to salvation. This subject is not new, but typically scholars have located the circus basilica within the context of Classical hero cults rather than the cult of Christian martyrs. This article brings together a wealth of sources—architectural, archaeological, artistic, and literary—combined with interdisciplinary methodologies to demonstrate how the Roman votaries of Jesus harnessed the cultural prestige and cosmological systems of the circus to promulgate the faith and exercise cultural dominion over the empire.
{"title":"Racetrack to Salvation: The Circus, the Basilica, and the Martyr","authors":"Lynda L. Coon, K. Sexton","doi":"10.1086/707095","DOIUrl":"https://doi.org/10.1086/707095","url":null,"abstract":"Six basilicas constructed by Christians in fourth-century Rome relate purposefully to ancient athletic structures, namely the circus and the stadium. This relationship grew out of the shared cultural traditions of Classical athleticism and the cult of Christian martyrs materialized in the built environment and serving mixed religious audiences. These six “circus basilicas” mimicked the most iconic features of Roman racetracks, whether designed for sturdy horses or swift humans. The similarities in design between circus and basilica were not mere accidents of history bearing only “pseudo-resemblances” to pagan monuments. Rather, the architectural features of circus basilicas bear witness to an ancient Christianity practiced outside the city walls in the fourth century only to be eclipsed by newer styles of worship in subsequent epochs. Here, the martyr keeps company with the charioteer; the pagan dissolves seamlessly into the Christian; the godhead metamorphoses into the ultimate spectator at the games; and the athletic spaces of the later Roman Empire transmute into a racetrack to salvation. This subject is not new, but typically scholars have located the circus basilica within the context of Classical hero cults rather than the cult of Christian martyrs. This article brings together a wealth of sources—architectural, archaeological, artistic, and literary—combined with interdisciplinary methodologies to demonstrate how the Roman votaries of Jesus harnessed the cultural prestige and cosmological systems of the circus to promulgate the faith and exercise cultural dominion over the empire.","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707095","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49049181","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Back Matter","authors":"","doi":"10.1086/709704","DOIUrl":"https://doi.org/10.1086/709704","url":null,"abstract":"","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/709704","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44617110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper examines the nature and extent of Abbot Suger’s work on the church of Saint-Denis during the last seven years of his twenty-nine-year-long abbacy (1122–51), topics that have occasioned scholarly disagreement, largely because of Suger’s statements in his Ordinatio (1140–41), De consecratione (1144), and Gesta (1144–49). Close reading of these texts suggests that Suger never professed to have finished the western towers (or even one of them), nor yet a transept or the nave. The work he said he had accomplished on the transept and nave is consistent with archaeological evidence, whereas the state of the western towers that Suger described suggests that the surviving evidence, sparse and complex as it is, deserves reconsideration. The concordances, contradictions, and resonances among his writings shed light on his plans, his actual accomplishments, and the rhetorical strategies he used to shape perception of his work. Inspired by a vision of the whole church he wished to erect, the projects Suger initiated after building the westwork and the eastern crypt and chevet reflect his desire to set his stamp on the entire basilica. Eager as he was to see his vision realized, Suger was aware that at his age (he died at seventy) time was lacking. The projects he initiated ensured that even if he was unable to execute them himself, the entire church, once finished, would be associated, from beginning to end, with him as its creator.
{"title":"Suger and the Abbey Church of Saint-Denis, 1144–51","authors":"E. A. Brown","doi":"10.1086/707336","DOIUrl":"https://doi.org/10.1086/707336","url":null,"abstract":"This paper examines the nature and extent of Abbot Suger’s work on the church of Saint-Denis during the last seven years of his twenty-nine-year-long abbacy (1122–51), topics that have occasioned scholarly disagreement, largely because of Suger’s statements in his Ordinatio (1140–41), De consecratione (1144), and Gesta (1144–49). Close reading of these texts suggests that Suger never professed to have finished the western towers (or even one of them), nor yet a transept or the nave. The work he said he had accomplished on the transept and nave is consistent with archaeological evidence, whereas the state of the western towers that Suger described suggests that the surviving evidence, sparse and complex as it is, deserves reconsideration. The concordances, contradictions, and resonances among his writings shed light on his plans, his actual accomplishments, and the rhetorical strategies he used to shape perception of his work. Inspired by a vision of the whole church he wished to erect, the projects Suger initiated after building the westwork and the eastern crypt and chevet reflect his desire to set his stamp on the entire basilica. Eager as he was to see his vision realized, Suger was aware that at his age (he died at seventy) time was lacking. The projects he initiated ensured that even if he was unable to execute them himself, the entire church, once finished, would be associated, from beginning to end, with him as its creator.","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707336","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48232416","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1246, a lavishly ornamented baptismal font was completed in Pisa, shortly after a papal interdict had been laid upon the city. What did it mean to the Pisans to erect such a grandiose religious monument precisely at this moment? And how is this reflected in the font’s decorative scheme? This article argues that not only the figurative elements in the font’s overall design, but most decidedly also its ornament, contribute to shaping a specific image of Pisan identity that closely responds to the political needs of the time.
{"title":"The Font of the Interdict: Reconsidering the Function of Ornament on the Baptismal Font of San Giovanni in Pisa","authors":"Isabelle Dolezalek","doi":"10.1086/707335","DOIUrl":"https://doi.org/10.1086/707335","url":null,"abstract":"In 1246, a lavishly ornamented baptismal font was completed in Pisa, shortly after a papal interdict had been laid upon the city. What did it mean to the Pisans to erect such a grandiose religious monument precisely at this moment? And how is this reflected in the font’s decorative scheme? This article argues that not only the figurative elements in the font’s overall design, but most decidedly also its ornament, contribute to shaping a specific image of Pisan identity that closely responds to the political needs of the time.","PeriodicalId":43922,"journal":{"name":"GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707335","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60710007","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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